The Rise and Fall of Alternative Rock in the Nineties In 1990 alternative music was where it belonged - underground. It left the business of rock stardom to rock stars. But by 1992 alternative rock had spawned a revolution in music and style that transformed youth culture and revived a moribund music industry. Five years later, alternative rock was over, leaving behind a handful of dead heroes, a few dozen masterpieces, and a lot more questions than answers. What, if anything, had the alternative revolution meant? And had it been possible - as so many of its heroes had insisted - for it to be both on MtV and under the radar? Had it used the machinery of corporate rock to destroy corporate rock? In ENtERtAIN US! Craig Schuftan takes you on a journey through the nineties - from Sonic Youth's 'Kool thing' to Radiohead's 'Kid A', NEVERMIND to ODELAY, Madchester to Nu-Metal, Lollapalooza to Woodstock '99 - narrated in the voices of the decade's most important artists. this is the story of alternative rock - the people who made it, the people who loved it, the industry that bought and sold it, and the culture that grew up in its wake - in the last decade of the twentieth century.

Nirvana are one of the most influential bands in rock history, and even now, nearly 20 years after Kurt Cobain's death, the reverence in which they are held is undiminished. Books have been written about Nirvana before, but they tend to concentrate on the band's superstar period and Kurt Cobain's demise, while skating over the early years. In Entertain Us, Gillian Gaar redresses the balance by examining in forensic detail the band's rise to fame, and their first album, Bleach. Seattle native Gaar was one of the first journalists to write about Nirvana, and covered the band's career closely, offering her a unique perspective to write this book. Drawing on extensive interviews with the key characters in the story, including bassist Krist Novoselic, drummer Chad Channing, and producers Jack Endino and Butch Vig, the book charts the band's formation and early years as well as their role at the center of the grunge gold rush. By critiquing every song the band recorded in this period, tracing influences and unpicking complex relationships between band members, associates and record labels, Gaar gets to the heart of a compelling story.

What do we mean by entertainment? How does this concept relate to theatre? Should theatre be for pleasure or instruction? Can it not be both? In this stimulating book, Jim Davis examines the relationship between theatre and entertainment by assessing audience reception, political theatre and melodrama. He explores definitions of entertainment, arguing that it can be found embedded in all forms of theatre, not just the 'popular'. Davis concludes with a review of contemporary perspectives on the topic and questions the limits of entertainment in theatrical performance.